Xi'an wind and percussion ensemble

UNESCO CULTURAL HERITAGE 
Xi’an wind and percussion ensemble, which has been played for more than a millennium in China’s ancient capital of Xi’an, in Shaanxi Province, is a type of music integrating drums and wind instruments, sometimes with a male chorus. The content of the verses is mostly related to local life and religious belief and the music is mainly played on religious occasions such as temple fairs or funerals. The music can be divided into two categories, ‘sitting music’ and ‘walking music’, with the latter also including the singing of the chorus. Marching drum music used to be performed on the emperor’s trips, but has now become the province of farmers and is played only in open fields in the countryside. The drum music band is composed of thirty to fifty members, including peasants, teachers, retired workers, students and others. The music has been transmitted from generation to generation through a strict master-apprentice mechanism. Scores of the music are recorded using an ancient notation system dating from the Tang and Song dynasties (seventh to thirteenth centuries). Approximately three thousand musical pieces are documented and about one hundred fifty volumes of handwritten scores are preserved and still in use.

Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

© Text UNESCO, Images: Shaanxi art research institute

Traditional chinese Li textile

UNESCO CULTURAL HERITAGE 

The traditional Li textile techniques of spinning, dyeing, weaving and embroidering are employed by women of the Li ethnic group of Hainan Province, China, to make cotton, hemp and other fibres into clothing and other daily necessities. The techniques involved, including warp ikat, double-face embroidery, and single-face jacquard weaving, are passed down from mothers to daughters from early childhood through verbal instruction and personal demonstration. Li women design the textile patterns using only their imagination and knowledge of traditional styles. In the absence of a written language, these patterns record the history and legends of Li culture as well as aspects of worship, taboos, beliefs, traditions and folkways. The patterns also distinguish the five major spoken dialects of Hainan Island. The textiles form an indispensable part of important social and cultural occasions such as religious rituals and festivals, and in particular weddings, for which Li women design their own dresses. As carriers of Li culture, traditional Li textile techniques are an indispensable part of the cultural heritage of the Li ethnic group. However, in recent decades the numbers of women with the weaving and embroidery skills at their command has severely declined to the extent that traditional Li textile techniques are exposed to the risk of extinction and are in urgent need of protection.

Inscribed in 2009 (4.COM) on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding

© Text UNESCO, Images: Hainan Province

Traditional chinese Xuan paper

UNESCO CULTURAL HERITAGE 

The unique water quality and mild climate of Jing County in Anhui Province in eastern China are two of the key ingredients in the craft of making Xuan paper that thrives there. Handmade from the tough bark of the Tara Wing-Celtis or Blue Sandalwood tree and rice straw, Xuan paper is known for its strong, smooth surface, its ability to absorb water and moisten ink, and fold repeatedly without breaking. It has been widely used in calligraphy, painting and book printing. The traditional process passed down orally over generations and still followed today proceeds strictly by hand through more than a hundred steps such as steeping, washing, fermenting, bleaching, pulping, sunning and cutting – all of which lasts more than two years. The production of the ‘Paper of Ages’ or ‘King of Papers’ is a major part of the economy in Jing County, where the industry directly or indirectly employs one in nine locals and the craft is taught in local schools. True mastery of the entire complicated process is won only by a lifetime of dedicated work. Xuan paper has become synonymous with the region, where a score of artisans still keep the craft alive.

Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity

© Text UNESCO, Images: Huang Feisong

Celadon firing technology

UNESCO CULTURAL HERITAGE 
The city of Longquan in the coastal Chinese province of Zhejian is known for its celadon pottery and the traditional firing technology that imparts its distinctive glaze. Compounded from violet-golden clay and a mixture of burnt feldspar, limestone, quartz and plant ash, the glaze is prepared from recipes that have often been handed down for generations by teachers or within families. The glaze is applied to a fired stoneware vessel, which is then fired again in a repeated cycle of six stages of heating and cooling where precise temperatures matter a great deal: either over- or under-firing will spoil the effect. Experienced celadon artists carefully control each stage with a thermometer and by observing the colour of the flame, which reaches temperatures as high as 1310º C. The final product may take either of two styles: ‘elder brother’ celadon has a black finish with a crackle effect, while the ‘younger brother’ variety has a thick, lavender-grey and plum-green finish. With its underlying jade-like green colour, celadon fired by the family-oriented businesses of Longquan is prized as masterwork-quality art that can also serve as household ware. It is a proud symbol of the cultural heritage of the craftspeople, their city and the nation.
Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity
© Text UNESCO, Images: Longquan Celadon Industry Association

Chinese wooden arch bridges

UNESCO CULTURAL HERITAGE 
Wooden arch bridges are found in Fujian Province and Zhejiang Province, along China’s south-east coast. The traditional design and practices for building these bridges combine the use of wood, traditional architectural tools, craftsmanship, the core technologies of ‘beam-weaving’ and mortise and tenon joints, and an experienced woodworker’s understanding of different environments and the necessary structural mechanics. The carpentry is directed by a woodworking master and implemented by other woodworkers. The craftsmanship is passed on orally and through personal demonstration, or from one generation to another by masters teaching apprentices or relatives within a clan in accordance with strict procedures. These clans play an irreplaceable role in building, maintaining and protecting the bridges. As carriers of traditional craftsmanship the arch bridges function as both communication tools and venues. They are important gathering places for local residents to exchange information, entertain, worship and deepen relationships and cultural identity. The cultural space created by traditional Chinese arch bridges has provided an environment for encouraging communication, understanding and respect among human beings. The tradition has declined however in recent years due to rapid urbanization, scarcity of timber and lack of available construction space, all of which combine to threaten its transmission and survival.
Inscribed in 2009 (4.COM) on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding
© Text: UNESCO, Image: Difa Gong

Tibetan opera

UNESCO CULTURAL HERITAGE 
Tibetan opera, the most popular traditional opera of minority ethnic groups in China, is a comprehensive art combining folk song, dance, storytelling, chant, acrobatics and religious performance. Most popular in the Qinghai-Tibetan Plateau in western China, the performance begins with a prayer ceremony, including the cleansing of the stage by hunters and blessings by the elder, and concludes with another blessing. The heart of the opera is a drama narrated by a single speaker and enacted by performers supported by groups of singers, dancers and acrobats. Actors wear traditional masks of a variety of shapes and colours that contrast with their simple makeup. Performances may take place in public squares or temples (or, today, on stage), with the centre of the space marked by a tree placed on the ground, wrapped in colourful paper and surrounded by purified water and theatrical props. Rooted in Buddhist teachings, the stories told in Tibetan opera recount the triumph of good and the punishment of evil and therefore serve a social teaching function for the community. This multifaceted representative of Tibetan art and cultural heritage also acts as a bridge among Tibetans in different parts of the country, promoting ethnic unity and pride.
Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity


© Text: UNESCO, Image: Tibetan Troupe

Silk craftmanship in China

UNESCO CULTURAL HERITAGE 
Sericulture and silk craftsmanship of China, based in Zhejiang and Jiangsu Provinces near Shanghai and Chengdu in Sichuan Province, have an ancient history. Traditionally an important role for women in the economy of rural regions, silk-making encompasses planting mulberry, raising silkworms, unreeling silk, making thread, and designing and weaving fabric. It has been handed down within families and through apprenticeship, with techniques often spreading within local groups. The life cycle of the silkworm was seen as representing the life, death and rebirth of human beings. In the ponds that dot the villages, silkworm waste is fed to fishes, while mud from the ponds fertilizes the mulberry trees, and the leaves in turn feed the silkworms. Near the beginning of the lunar year, silkworm farmers invite artisans into their homes to perform the story of the Goddess of the Silkworm, to ward off evil and ensure a bountiful harvest. Every April, female silkworm farmers adorn themselves with colourful flowers made of silk or paper and make harvest offerings as part of the Silkworm Flower festival. Silk touches the lives of rural Chinese in more material ways, too, in the form of the silk clothes, quilts, umbrellas, fans and flowers that punctuate everyday life.
Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity
© Text: UNESCO, Image: China National Silk Museum

Regong arts

UNESCO CULTURAL HERITAGE 
In monasteries and villages along the Longwu River basin in Qinghai Province in western China, Buddhist monks and folk artists of the Tibetan and Tu ethnicity carry on the plastic arts of painting thangka and murals, crafting patchwork barbola and sculpting known collectively as the Regong arts. Their influence extends to nearby provinces and beyond to South-East Asian countries. Thangka, the art of painting religious scrolls used to venerate Buddha, uses a special brush to apply natural dyes to cloth prepared with patterns sketched in charcoal; barbola employs plant and animal forms cut from silk fabric to create soft relief art for veils and column ornaments; and wood, clay, stone or brick Regong sculpture decorates rafters, wall panels, tea tables and cabinets in both temples and homes. The technique is mainly passed from fathers to children or from masters to apprentices strictly following ancient Buddhist painting books that provide instruction on line and figure drawing, colour matching and pattern design. Characterized by a distinctively Tibetan Buddhist religion style and unique regional features, the Regong arts embody the spiritual history and traditional culture of the region and remain an integral part of the artistic life of people there today
Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity
© Text: UNESCO, Image: Qinghai Regong Art Society of China

Qiang New Year festival

UNESCO CULTURAL HERITAGE 
The Qiang New Year Festival, held on the first day of the tenth lunar month, is an occasion for the Qiang people of China’s Sichuan Province to offer thanks and worship to heaven for prosperity, reaffirm their harmonious and respectful relationship with nature, and promote social and family harmony. The solemn ritual sacrifice of a goat to the mountain is performed by villagers clad in their finest ceremonial dress, under the careful direction of a shibi (priest). This is followed by the communal sheepskin-drum and salang dances, led by the shibi. The ensuing festivities combine merrymaking with the chanting of traditional Qiang epics by the shibi, singing and the drinking of wine. At the end of the day the heads of families preside over family worship during which sacrifices and offerings are made. Through the festival, Qiang traditions distilling history and cultural information are renewed and diffused, and social behaviours are reinforced, the community expressing respect and worship towards all creatures, the motherland and their ancestors. Participation in the festival has declined in recent years due to migration, declining interest in Qiang heritage among the young and the impact of outside cultures, but the 2008 Sichuan earthquake that destroyed many of the Qiang villages and devastated the region put the New Year festival at grave risk.
Inscribed in 2009 (4.COM) on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding
© Text: UNESCO, Image: Wan Yuchuan

Nanyin

UNESCO CULTURAL HERITAGE 
Nanyin is a musical performing art central to the culture of the people of Minnan in southern Fujian Province along China’s south-eastern coast, and to Minnan populations overseas. The slow, simple and elegant melodies are performed on distinctive instruments such as a bamboo flute called the dongxiao and a crooked-neck lute played horizontally called the pipa, as well as more common wind, string and percussion instruments. Of nanyin’s three components, the first is purely instrumental, the second includes voice, and the third consists of ballads accompanied by the ensemble and sung in Quanzhou dialect, either by a sole singer who also plays clappers or by a group of four who perform in turn. The rich repertoire of songs and scores preserves ancient folk music and poems and has influenced opera, puppet theatre and other performing art traditions. Nanyin is deeply rooted in the social life of the Minnan region. It is performed during spring and autumn ceremonies to worship Meng Chang, the god of music, at weddings and funerals, and during joyful festivities in courtyards, markets and the streets. It is the sound of the motherland for Minnan people in China and throughout South-East Asia.
Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity
© Text: UNESCO, Image: Culture Bureau of Quanzhou

The Art of Akyns, Kyrgyz Epic Tellers

UNESCO CULTURAL HERITAGE  

The predominant form of cultural expression among the Kyrgyz nomads is the narration of epics. The art of the Akyns, the Kyrgyz epic tellers, combines singing, improvisation and musical composition. The epics are performed at religious and private festivities, seasonal ceremonies and national holidays and have survived over the centuries by oral transmission.

The value of the Kyrgyz epics lies largely in their dramatic plots and philosophical underpinnings. They represent an oral encyclopaedia of Kyrgyz social values, cultural knowledge and history. The pre-eminent Kyrgyz epic is the 1000-year-old Manas trilogy, which is noteworthy not only for its great length (sixteen times longer than Homer’s Iliad and Odyssey), but also for its rich content. Blending fact and legend, the Manas immortalizes important events in Kyrgyz’s history since the ninth century. The Kyrgyzs have also preserved over forty “smaller” epics. While the Manas is a solo narration, these shorter works are generally performed to the accompaniment of the komuz, the three-stringed Kyrgyz lute. Each epic possesses a distinctive theme, melody and narrative style. Akyns were once highly respected figures who toured from region to region and frequently participated in storytelling contests. They were appreciated for their proficiency in narration, expressive gestures, intonation and lively mimicry, so well suited to the epics’ emotionally charged content.

During the 1920s, the first part of the Manas trilogy was recorded in written form based on the oral interpretation of the great epic singer, Sagynbay. The epics remain an essential component of Kyrgyz identity and continue to inspire contemporary writers, poets, and composers; even today, the traditional performances are still linked to sacred cultural spaces. Although there are fewer practitioners nowadays, master akyns continue to train young apprentices and are helped by recent revitalization initiatives supported by the Kyrgyz government.

Inscribed in 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2003)

© Text: UNESCO, Image: Kyrgyz National Commission for UNESCO

Mazu belief and customs

UNESCO CULTURAL HERITAGE   

As the most influential goddess of the sea in China, Mazu is at the centre of a host of beliefs and customs, including oral traditions, religious ceremonies and folk practices, throughout the country’s coastal areas. Mazu is believed to have lived in the tenth century on Meizhou Island, where she dedicated herself to helping her fellow townspeople, and died attempting to rescue the survivors of a shipwreck. Local residents built a temple in her honour and began to venerate her as a goddess. She is celebrated twice each year in formal temple fairs, when Meizhou residents, farmers and fisherfolk temporarily suspend their work to sacrifice marine animals, venerate statues of Mazu and enjoy a variety of dances and other performances. Smaller worship ceremonies take place throughout the year in the other 5,000 Mazu temples around the world and in private homes; these may involve floral tributes; candles, incense and firecrackers; and evening processions of residents bearing ‘Mazu lanterns’. Followers may implore the god for pregnancy, peace, the solution to a problem or general well-being. Deeply integrated into the lives of coastal Chinese and their descendants, belief in and commemoration of Mazu is an important cultural bond that promotes family harmony, social concord, and the social identity of these communities.

Inscribed in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity.

© Text: UNESCO, Image: First Mazu Temple of Meizhou

Manas

UNESCO CULTURAL HERITAGE  

The Kirgiz ethnic minority in China, concentrated in the Xinjiang region in the west, pride themselves on their descent from the hero Manas, whose life and progeny are celebrated in one of the best-known elements of their oral tradition: the Manas epic. Traditionally sung by a Manaschi without musical accompaniment, epic performances takes place at social gatherings, community celebrations, ceremonies such as weddings and funerals and dedicated concerts. Regional variations abound, but all are characterized by pithy lyrics with phrases that now permeate the everyday language of the people, melodies adapted to the story and characters, and lively parables. The long epic records all the major historic events of greatest importance for the Kirgiz people and crystallizes their traditions and beliefs. The Kirgiz in China and the neighbouring Central Asian countries of Kyrgyzstan, Kazakhstan and Tajikistan regard the Manas as a key symbol of their cultural identity and the most important cultural form for public entertainment, the preservation of history, the transmission of knowledge to the young and the summoning of good fortune. One of the ‘three major epics of China’, it is both an outstanding artistic creation and an oral encyclopaedia of the Kirgiz people.

Inscribed in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity.

© Text: UNESCO, Image: Xinjiang Cultural Heritage

Hua'er

UNESCO CULTURAL HERITAGE 

In Gansu and Qinghai Provinces and throughout north-central China, people of nine different ethnic groups share a music tradition known as Hua’er. The music is drawn from an extensive traditional repertoire named after ethnicities, towns or flowers (‘Tu People’s ling’, ‘White Peony ling’), and lyrics are improvised in keeping with certain rules – for example, verses have three, four, five or six lines, each made up of seven syllables. Songs may tell of young love, the hard work and weariness of the farming life, the foibles of men and women or the joy of singing. The songs are also a vivid oral record of recent social developments in China as singers comment on the changes they observe around them. Hua’er singers may have little schooling, but the most successful and widely respected singers today have become household names, performing widely and even creating their own institutes to pass on their art to apprentices. Whether it is being sung spontaneously by rural people working in the field or travelling or performed more formally at one of more than a hundred traditional Hua’er festivals held annually in these provinces, Hua’er is an important vehicle for expressing personal feelings in a social setting and cultural exchange across ethnicities, as well as a popular rural entertainment.

Inscribed in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity

© Text: UNESCO, Image: Linxia prefecture

Komal Gandhar

FILM REVIEW

Title: Komal Gandhar (A Soft Note on a Sharp Scale)

Year: 1961

Director: Ritwik Ghatak

Writer: Rabindranath Tagore, Ritwik Ghatak

Running time: 134 minutes  

Country: India

Plot summary:

Komal Gandhar (English title: A Soft Note on a Sharp Scale; literally: E-flat) is a 1961 Bengali film written and directed by noted film maker Ritwik Ghatak. It was part of the trilogy, Meghe Dhaka Tara (1960), Komal Gandhar, and Subarnarekha (1962), all dealing with the aftermath of the Partition of India in 1947 and the refugees coping with it, though this was the most optimistic film of his oeuvre. The film explores three themes juxtaposed in the narrative, the dilemma of Anusuya, the lead character, divided leadership of IPTA and the fallout of the partition of India.

The title was taken from the line of a poem by Rabindranath Tagore that meant a sur or note, E-flat. As in other films by Ghatak, music plays a pivotal role in the movie.

Through the microcosmic perspectivising of a group of devoted and uncompromising IPTA workers, Ghatak with his signature style touches on varied issues of partition, idealism, corruption, the interdependence of art and life, the scope of art, and class-struggle. Unlike his other films, this one runs along an upbeat mood with the lead pair of lovers (Bhrigu and Anusuya) being reunited.

© Text and image: Wikipedia and IMDB

Grand song of the Dong

UNESCO CULTURAL HERITAGE

A popular saying among the Dong people in Guizhou Province in southern China has it that ‘rice nourishes the body and songs nourish the soul’. Their tradition of passing on culture and knowledge in music is exemplified in the Grand Song of the Dong ethnic group, multi-part singing performed without instrumental accompaniment or a leader. The repertoire includes a range of genres such as ballads, children’s songs, songs of greeting and imitative songs that test performers’ virtuosity at mimicking the sounds of animals. Taught by masters to choirs of disciples, Grand Songs are performed formally in the drum-tower, the landmark venue for rituals, entertainment and meetings in a Dong village, or more spontaneously in homes or public places. They constitute a Dong encyclopaedia, narrating the people’s history, extolling their belief in the unity of humans and nature, preserving scientific knowledge, expressing feelings of romantic love, and promoting moral values such as respect for one’s elders and neighbours. Grand Song is performed widely today, with each village boasting various choirs divided by age and sometimes gender. In addition to disseminating their lifestyle and wisdom, it remains a crucial symbol of Dong ethnic identity and cultural heritage.

© Text: UNESCO, Image: China Ministry of Culture

Gesar Epic Tradition

UNESCO CULTURAL HERITAGE

The ethnic Tibetan, Mongolian and Tu communities in western and northern China share the story of the ancient hero King Gesar, sent to heaven to vanquish monsters, depose the powerful, and aid the weak while unifying disparate tribes. The singers and storytellers who preserve the Gesar epic tradition perform episodes of the vast oral narrative (known as ‘beads on a string’) in alternating passages of prose and verse with numerous regional differences. Tibetan masters carry bronze mirrors and use facial expressions, sound effects and gestures to enhance their singing, while Mongolian performers are accompanied by fiddles and intersperse improvised, melodic singing with musical storytelling and oral narrative. Epic performances, often accompanied by rituals such as offerings and meditation, are embedded in the religious and daily lives of the community. For example, when a child is born, passages about King Gesar’s descent into the world are sung. The hundreds of myths, folktales, ballads and proverbs handed down as part of the tradition not only serve as a form of major entertainment in rural communities but also educate listeners in history, religion, custom, morality and science. A continuing inspiration for thangka painting, Tibetan opera and other art forms, the Gesar epic imbues audiences both young and old with a sense of cultural identity and historical continuity.

Inscribed in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity

© Text: UNESCO, Image: IEL of CASS

Sir Wilfred Thesiger

EXPLORERS OF THE WORLD 

Sir Wilfred Thesiger (1910 – 2003) 

Sir Wilfred Patrick Thesiger, CBE, DSO, FRAS, FRGS (3 June 1910 – August 24, 2003) was a British explorer and travel writer born in Addis Ababa, the capital of Ethiopia.

Thesiger was educated at Eton College and Magdalen College, Oxford University where he took a third in history. Between 1930 and 1933, Thesiger represented Oxford at boxing and later (1933) became captain of the Oxford boxing team.

In 1930, Thesiger returned to Africa, having received a personal invitation by Emperor Haile Selassie to attend his coronation. He returned again in 1933 in an expedition, funded in part by the Royal Geographical Society, to explore the course of the Awash River. During this expedition, he became the first European to enter the Aussa Sultanate and visit Lake Abbe.

Afterwards, in 1935, Thesiger joined the Sudan Political Service stationed in Darfur and the Upper Nile. He served in several desert campaigns with the Sudan Defence Force (SDF) and the Special Air Service (SAS) with the rank of major.

In World War II, Thesiger fought with Gideon Force in Ethiopia during the East African Campaign. He was awarded the DSO[1] for capturing Agibar and its garrison of 2500 Italian troops. Afterwards, Thesiger served in the Long Range Desert Group during the North African Campaign.

There is a rare wartime photograph of Thesiger in this period. He appears in a well-known photograph usually used to illustrate the badge of the Greek Sacred Squadron. It is usually captioned 'a Greek officer of the Sacred Band briefing British troops'. The officer is recognisably the famous Tsigantes and one of the crowd is recognisably Thesiger. Thesiger is the tall figure with the distinct nasal profile. Characteristically, he is in Arab headdress. Thesiger was the liaison officer to the Greek Squadron.

In 1945, Thesiger worked in Arabia with the Desert Locusts Research Organisation. Meanwhile, from 1945 to 1949, he explored the southern regions of the Arabian peninsula and twice crossed the Empty Quarter. His travels also took him to Iraq, Persia (now Iran), Kurdistan, French West Africa, Pakistan and Kenya. He returned to England in the 1990s and was knighted in 1995.

Thesiger is best known for two travel books. Arabian Sands (1959) recounts his travels in the Empty Quarter of Arabia between 1945 and 1950 and describes the vanishing way of life of the Bedouins. The Marsh Arabs (1964) is an account of the Madan, the indigenous people of the marshlands of southern Iraq. The latter journey is also covered by his travelling companion, Gavin Maxwell, in A Reed Shaken by the Wind — a Journey through the Unexplored Marshlands of Iraq (Longman, 1959).

Thesiger took many photographs during his travels and donated his vast collection of 23,000 negatives to the Pitt Rivers Museum, Oxford.

Obituary from The Guardian, August 27th 2003

Explorer whose mystic vision rejected the modern technological world in favour of the tribes people of Africa and the Arabian deserts

Once, in 1946, Wilfred Thesiger lay starving on a sand dune in Arabia’s Empty Quarter for three days, waiting for his Bedu companions to bring back food, and tortured by hallucinations of cars and lorries that could carry him to safety. “No,” he wrote later, “I would rather be here starving as I was than sitting in a chair, replete with food, listening to the wireless and dependent on cars to take me through Arabia.” As an explorer, Thesiger, who has died aged 93, recognised that satisfaction in attaining a goal was directly in proportion to the hardship and challenge involved in getting there.

He reserved the word “abomination” for cars and aeroplanes, and all his life resented the intrusion of any innovation post-dating the steam engine. His mystical regard for tradition was a product both of his childhood in still-medieval Abyssinia and an intense pride in his aristocratic forebears, the Barons of Chelmsford.

Born in Addis Ababa, where his father was British minister, he grew up in the barbaric splendour of an imperial court, and was privileged to see a victorious and blooded Abyssinian army marching through the city in the full panoply of war. It was an experience he never forgot.

Daydreams of Africa and the wider world were his means of escape throughout his awkward and often unhappy schooldays at St Aubyn’s school, Rottingdean, in Sussex (1919-23), Eton College (1923-28), and his time reading history at Magdalen College, Oxford (1929-33). During his first summer vacation from the university, he set off alone, working his passage on a tramp steamer to Istanbul and returning third-class by train.

So began the travels that he recorded in fine prose and black-and-white photography. On his return, he found both a personal invitation to attend the coronation of Emperor Haile Selassie of Abyssinia, and a note from the Foreign Office appointing him honorary attaché to the Duke of Gloucester for the event - where he met Evelyn Waugh, a writer of very different sympathies.

For his second vacation, he set himself another endurance test, a month with a Hull fishing trawler off Iceland. Here he learnt to withstand the need for sleep.

But Africa was his goal, and at the age of only 23 he went to explore Abyssinia’s Awash River and the forbidding Aussa sultanate with its Danakil nomads, chiefly noted for a disturbing tendency to kill men and carry off their testicles as trophies. Such practices held little horror for Thesiger, who had survived fagging and flogging at Eton, and saw at least one young Afar man, flushed from the exertion of slaughtering and mutilating four victims in a day, as “the equivalent of a nice, rather self-conscious Etonian who had just won his school colours for cricket”.

Thesiger gained his own blue, for boxing at Oxford - when he captained the university team in 1933, a victory against Cambridge was marred by the breaking of his noble nose - and like many an athletically endowed young Oxbridge graduate of the 30s, he sought a career in the country where “blues” were said to rule “blacks”: the Sudan. As an assistant district commissioner in the Sudan political service from 1935 onwards, he served in arid Darfur, and later in the steaming swamps of the Sudd, where one of his chief jobs was shooting troublesome lions that attacked local herds.

It was in Darfur that he first learned to travel by fast-riding camel with local companions, dressing as they did, eating local food out of the same bowl, and asking nothing of technology but a good rifle, a torch and a compass. During one leave he completed a long and dangerous journey to the almost unknown Tibesti mountains in the Sahara, and fell in love with the desert: “I was exhilarated by the sense of space, the silence, and the crisp cleanness of the sand. I felt in harmony with the past, travelling as men had travelled for untold generations across the deserts, dependent for their survival on the endurance of their camels and their own inherited skills.”

During the war he was a bimbashi - the most junior officer rank - in the Sudan defence force. He won the DSO in 1941 for leadership under fire in fighting the Italians, under the idiosyncratic Orde Wingate in the liberation of Abyssinia. With a masterstroke of bluff, he subsequently forced the surrender of an Italian-held fort, taking 2,500 prisoners. He later fought as a major, as second in command of a Druze legion formed to fight the Vichy French in Syria - which enabled him to visit a deserted Petra. He also served with Colonel David Stirling’s Special Air Service (SAS) in north Africa. Following the defeat of the Afrika Korps in 1943, the SAS went to Palestine, and in October of that year Thesiger left the organisation to act as an adviser to Haile Selassie in Abyssinia.

A resulting chance meeting brought him a job in what became the UN’s Food and Agricultural Organisation’s anti-locust unit and the opportunity to make his most famous journeys in the deserts of Arabia under its aegis, between 1945 and 1949. Arabia’s legendary Empty Quarter had been the goal of all Arabian explorers from Richard Burton onward, and although Thesiger was not the first to cross it, he was the first to explore it thoroughly, mapping the oasis of Liwa and the quicksands of Umm As-Sammim. He crossed the desert twice with Bedu companions, and his trek across the western sands from the Hadhramaut to Abu Dhabi was the last and greatest expedition of Arabian travel.

During his journeys he was caught up in inter-tribal raids, pursued by hostile raiders, and arrested by the Saudi authorities. He travelled alone in the Hejaz, the Assir and Najran, and explored the Trucial Coast and Dhofar in southern Arabia. He lived with the canoe-borne marshmen of Iraq for several periods over the seven years up to the Iraqi revolution of 1958, attaining acceptance only by learning the unusual skill of circumcision.

He still found time to travel in Kurdistan, Hunza (north-east Pakistan), Swat, Chitral (both north-west Pakistan), and Nuristan (across the border in north-east Afghanistan), where in 1956, 16,600ft up in the high passes, he bumped into a dispirited Eric Newby and friend Hugh Carless, and invited them to spend the night with him. They got on well until Thesiger saw them blowing up inflatable air-beds before retiring. “You must be a couple of pansies!” he said.

He crisscrossed postwar Abyssinia, fought on the royalist side in the civil war in Yemen (1966-67), traversed most of northern Kenya, where he spent much time between 1968 and 1994, travelled with the Bakhtiari nomads in Iran, trekked across the burning plains of the Dasht-i-Lut, the Great Sand Desert of eastern Iran, and explored inner Afghanistan. All of these travels and many more - in total tens of thousands of miles - were made either on foot or by traditional transport, be it camel, horse, mule, donkey or canoe.

Thesiger felt least at home in his own culture and with his own kind. He resented the juggernaut of western “civilisation” and its inexorable movement to squash what he believed was the colour and diversity of the earth’s peoples. His sympathies were with the indigenes, and his closest human ties were with certain of them who were his companions on his many journeys - his Zaghawa servant in the Sudan, his Bedu companions in Arabia, his paddlers in Iraq and his Samburu family in Kenya. (”Sex has been of no consequence to me, and the celibacy of desert life left me untroubled. Marriage would certainly have been a crippling handicap.”) Few other explorers of the last century have tried so genuinely to see the world through the eyes of these foreign peoples. Yet much as he despised civilisation, Thesiger was never able to forsake completely his place in it.

Had he done so, he might never have left us his unique glimpses of strange worlds, in his classic books The Marsh Arabs (1964) and Desert, Marsh And Mountain (1979), his autobiography The Life Of My Choice (1987), his portfolio of superb monochrome photos, Visions Of A Nomad (1987), and above all his description of the traditional life of the Bedu, Arabian Sands (1959), probably the finest book ever written about Arabia and a tribute to a world now lost forever.

He won the founder’s medal of the Royal Geographical Society, together with three other medals from learned societies, honorary fellowships of Magdalen College, Oxford, and the British Academy, and an Honorary DLitt from Leicester University. In 1968, he was awarded a CBE, and in 1995 he was knighted.

Yet, far more than these many honours, he valued the friendship and confidence of the nomadic peoples with whom and among whom he travelled. Thesiger’s best years were the five he spent among the Bedu of South Arabia, and one cherished companion from those days, Salim bin Ghabeisha, when a greybeard in his 60s, remembered him: “He was loyal, generous, and afraid of nothing. He was a wonderful man to travel with.” Thesiger would, I am sure, ask no better epitaph.


Copyright: Wikipedia, Oxford University Exploration Club

The Iban of Sarawak

Name: Iban

Living Area: Sarawak (Malaysia)

Population: >600.000 people

Language: Iban language

Comments:   

The Ibans are a branch of the Dayak peoples of Borneo. In Malaysia, most Ibans are located in Sarawak, a small portion in Sabah and some in west Malaysia. They were formerly known during the colonial period by the British as Sea Dayaks. Ibans were renowned for practising headhunting and tribal/territorial expansion. In ancient times the Ibans were a strong and successful warring tribe in Borneo.

Today, the days of headhunting and piracy are long gone and in has come the modern era of globalization and technology for the Ibans. The Iban population is concentrated in Sarawak, Brunei, and in the West Kalimantan region of Indonesia. They live in longhouses called rumah panjai. Most of the Iban longhouses are equipped with modern facilities such as electricity and water supply and other facilities such as (tar sealed) roads, telephone lines and the internet. Younger Ibans are mostly found in urban areas and visit their hometowns during the holidays. The Ibans today are becoming increasingly urbanised while retaining most of their traditional heritage and culture.

The origin of the name Iban is a mystery, although many theories exist. During the British colonial era, the Ibans were called Sea Dayaks. Some believe that the word Iban was an ancient original Iban word for people or man. The modern-day Iban word for people or man is mensia, a totally modified Malay loan word of the same meaning (manusia) of Sanskrit root.

The Ibans were the original inhabitants of Borneo Island. Like the other Dayak tribes, they were originally farmers, hunters, and gatherers. Not much is known about Iban people before the arrival of the Western expeditions to Asia. Nothing was ever recorded by any voyagers about them.

The Ibans started moving to areas in what is today's Sarawak around the 15th century. After an initial phase of colonising and settling the river valleys, displacing or absorbing the local tribes, a phase of internecine warfare began. Local leaders were forced to resist the tax collectors of the sultans of Brunei. At the same time, Malay influence was felt, and Iban leaders began to be known by Malay titles such as Datu (Datuk), Nakhoda and Orang Kaya.

In later years, the Iban encountered the Bajau and Illanun, coming in galleys from the Philippines. These were seafaring tribes who came plundering throughout Borneo. One famous Iban legendary figure known as Lebor Menoa from Entanak, near modern-day Betong, fought and successfully defeated the Bajaus and Illanuns. It is likely that the Ibans learned seafaring skills from the Bajau and the Illanun, using these skills to plunder other tribes living in coastal areas, such as the Melanaus and the Selakos. This is evident with the existence of the seldom-used Iban boat with sail, called the bandung. This may also be one of the reasons James Brooke, who arrived in Sarawak around 1838, called the Ibans Sea Dayaks. For more than a century, the Ibans were known as Sea Dayaks to Westerners.

The Ibans were traditionally animist, although the majority are now Christian. Many continue to observe both Christian and traditional ceremonies, particularly during marriages or festivals.

Significant festivals include the rice harvesting festival Gawai Dayak, the main festival for the Ibans. Other festivals include the bird festival Gawai Burong and the spirit festival Gawai Antu. The Gawai Dayak festival is celebrated every year on the 1st of June, at the end of the harvest season, to worship the Lord Sempulang Gana. On this day, the Ibans get together to celebrate, often visiting each other. The Iban traditional dance, the ngajat, is performed accompanied by the taboh and gendang, the Ibans' traditional music. Pua Kumbu, the Iban traditional cloth, is used to decorate houses. Tuak, which is originally made of rice, is a wine used to serve guests. Nowadays, there are various kinds of tuak, made with rice alternatives such as sugar cane, ginger and corn.

The Gawai Burong (the bird festival) is held in honour of the war god, Singalang Burong. (Singalang the Bird). This festival is initiated by a notable individual from time to time and hosted by individual longhouses. The Gawai Burong originally honoured warriors, but during more peaceful times evolved into a healing ceremony. The recitation of pantun (traditional chants by poets) is a particularly important aspect of the festival.

Iban music is percussion-oriented. The Iban have a musical heritage consisting of various types of agung ensembles - percussion ensembles composed of large hanging, suspended or held, bossed/knobbed gongs which act as drones without any accompanying melodic instrument. The typical Iban agung ensemble will include a set of engkerumungs (small agungs arranged together side by side and played like a xylophone), a tawak (the so-called 'bass'), a bendai (which acts as a snare) and also a set of ketebung (a single sided drum/percussion).

The Iban as well as the Kayan and Kenyah also play an instrument resembling the guitar called Sape (instrument). The Sape is the official musical instrument for the Malaysian state of Sarawak. It is played similarly to the way rock guitarists play guitar solos, albeit a little slower, but not as slow as blues.

The Ibans perform a unique dance called the ngajat. It serves many purposes depending on the occasion. Iban men and women have different styles of ngajat. The ngajat involves a lot of precise body-turning movements. For men is more aggressive and depicts a man going to war, or a bird flying (as a respect to the Iban god of war, Singalang Burong). The women's form of ngajat consists of soft, graceful movements with very precise body turns. Each ngajat is accompanied by the taboh or the body.

Known by their: headhunting

Headhunting among the Ibans is believed to have started when the lands occupied by the Ibans became over-populated. In those days, before the arrival of western civilization, intruding on lands belonging to other tribes resulted in death. Confrontation was the only way of survival.

In those days, the way of war was the only way that any Dayak tribe could achieve prosperity and fortune. Dayak warfare was brutal and bloody, to the point of ethnic cleansing. Many extinct tribes, such as the Seru and Bliun, are believed to have been assimilated or wiped out by the Ibans. Tribes like the Bukitan, who were the original inhabitants of Saribas, are believed to have been assimilated or forced northwards as far as Bintulu by the Ibans. The Ukits were also believed to have been nearly wiped out by the Ibans.

© Text: Wikipedia, Image: Kumuka 

San Francisco Tribal Show 2011

SHOW 

Name: SAN FRANCISCO TRIBAL SHOW 2011 

Date: November 4-6, 2011 

Place: Fort Mason Building D, Fleet Room, San Francisco (USA) 

Webpage: www.sftribal.com 

Comments:

PREVIEW OPENING NIGHT

NOVEMBER 4 • 6pm - 9pm

sushi and champagne

$35 at the door

REGULAR SHOW HOURS

SATURDAY, NOVEMBER 5 • 11am - 7pm

SUNDAY, NOVEMBER 6 • 11am - 5pm

$10 entrance

History:

San Francisco Tribal is an association of tribal art dealers from the San Francisco Bay Area. The association is comprised of 13 experts in African art, Oceanic art, Asian art, pre-Columbian art and North American Indian art. The members offer a wide range of high quality sculpture, masks, textiles, ceramics, weapons, shields and jewelry from ancient and traditional cultures and are committed to a standard of excellence and professional conduct.

San Francisco Tribal member dealers guarantee the quality and authenticity of everything they sell. From pre-Columbian to tribal Asian, the dealers have sold important works of tribal art to renowned museums and private collections worldwide. San Francisco Tribal enhances accessibility to this important community and promotes the Bay Area as a major destination for collectors of fine tribal and textile art. To this end, San Francisco Tribal presents tribal art exhibits that showcase the diverse specialties of its members and maintains this website with information about the dealers and the works of art they have for sale.

Participating SFT dealers: Dave DeRoche, Erik Farrow, Joe Loux, Vicki Shiba,

Frank Wiggers, James Willis  

Guest Dealers: Peter-Michael Boyd, Taylor A. Dale, Joshua Dimondstein, Sandra Horn

and Ari Maswell, Mark Johnson, Lewis-Wara Gallery, K.R. Martindale

© Text and image: San Francisco Tribal Show 2011